Each Wednesday for 22 weeks, I'll be sharing artwork that was done on paper from a Schut Papier sampler. I'll be giving you a little information about each of the papers.
Schut Aqualrelbloc Terschelling Hot Pressed 300 gm2/140 lbs
This is a hot-pressed paper, which means it is smoother than most watercolor papers. Although I didn't have the chance to try it, I believe this would be also be a good paper for mixed media and/or drawing. It might be too smooth for pastel and color pencil, especially if you want to layer, but it does have some grip.
The paper is stiff, somewhat like cardstock, but, Oh!, it holds up so much better. There was no curling, dimpling or buckling even with heavy wet-on-wet techniques.
The outcome of my tests:
Washes move well.
Paint lifts for lightening color, but not back to white.
Both masking tape and liquid frisket remove easily.
I didn't have much problem with backruns, but hard edges formed quickly.
You can scrape to remove paint, but paper fuzzes and you may end up with chunks. Scraped areas don't accept paint well, after.
You can gently fold the paper over until the edges meet. The paper 'remembers' the fold, but will straighten completely if weighted down.
If you fold the paper and crease it, the crease radiates into many creases (expected).
As mentioned above, there was no dimpling, buckling or curling. You could paint on this paper without stretching or taping it down.
Schut Aqualrelbloc Terschelling Hot Pressed 300 gm2/140 lbs
This is a hot-pressed paper, which means it is smoother than most watercolor papers. Although I didn't have the chance to try it, I believe this would be also be a good paper for mixed media and/or drawing. It might be too smooth for pastel and color pencil, especially if you want to layer, but it does have some grip.
The paper is stiff, somewhat like cardstock, but, Oh!, it holds up so much better. There was no curling, dimpling or buckling even with heavy wet-on-wet techniques.
The outcome of my tests:
Washes move well.
Paint lifts for lightening color, but not back to white.
Both masking tape and liquid frisket remove easily.
I didn't have much problem with backruns, but hard edges formed quickly.
You can scrape to remove paint, but paper fuzzes and you may end up with chunks. Scraped areas don't accept paint well, after.
You can gently fold the paper over until the edges meet. The paper 'remembers' the fold, but will straighten completely if weighted down.
If you fold the paper and crease it, the crease radiates into many creases (expected).
As mentioned above, there was no dimpling, buckling or curling. You could paint on this paper without stretching or taping it down.
This painting was adapted from an exercise in the book
'Complete Guide to Watercolor Painting' by David Bellamy
This painting was adapted from an exercise,
at Birgit O'Connor's Blog
Something I meant to mention earlier in these posts is that some (but not all) of my paintings (none of the drawings) are adapted from exercises in watercolor books or online tutorials. Since I only had one sheet of each type of paper, I wanted to concentrate on how the paper reacted to the paint, not on composition and color choice. I thought about simply doing charts or exercises, but truthfully, I find those of limited help and they aren't as interesting for you to look at. So, if I didn't have a strong idea of what I wanted to paint that day, I looked up a tutorial.
I did make some changes in color and composition, and, for purposes of testing, found ways to use liquid frisket, scraping, or other techniques that might not have been in the tutorial. So any failures in the paintings are mine, not the teacher's.
If there is no attribution, then the painting came out of my head. However, please ask if you think an unattributed painting did come from a tutorial. It's always possible that I forgot or accidentally erased the attribution.
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